论李渔戏曲叙事的狂欢意趣

发布时间：2018-02-15 22:08

本文关键词： 李渔戏曲叙事狂欢明末清初江南城市文化　出处：《民族艺术研究》2016年02期 　论文类型：期刊论文

【摘要】：明末清初的戏曲家李渔因《闲情偶寄》而名传后世,他的《笠翁十种曲》在清初盛传一时,但却未能进入戏曲经典的行列。显然,李渔的戏曲作品不符合我们对于戏曲"经典"的期待,《笠翁十种曲》基本都是些谐谑笑闹之作,既没有表现什么重大的主题,也不曾塑造什么光彩夺目的人物形象,格调不高,甚而堪称鄙俗。但这些作品中所蕴涵的秘而不宣的时代文化心理对于后代人来说未免阻隔,可对于同时代人恐怕却具有非常真切的意义。李渔的戏曲创作汲取了晚明社会的荒诞——狂欢化因素,运以文人才情,融合市民智慧,结构机趣的戏文,在观众的笑声中完成其文化心理的公共交流,实现与人消愁的叙事目的。在其作品所展现的淆乱世界里,洋溢着随心所欲的自由与欢快,男女分疆受到挑战,夫妇伦常遭到嘲弄,等级界限模糊了,尊卑壁垒消除了,严肃正经消解在滑稽笑闹之中,嬉笑诙谐之处包含着打破秩序与颠覆权威的快意。
[Abstract]:Li Yu, a dramatist in the late Ming and early Qing dynasties, passed on his fame and fame to later generations because of "casual feelings". His "Li Weng Ten kinds of songs" spread for a while in the early Qing Dynasty, but he failed to enter the ranks of the opera classics. Obviously, Li Yu's opera works do not meet our expectations for the opera "Classics." "Li Weng's Ten kinds of songs" are basically banter and jockeying works. They show no major theme, nor do they portray any brilliant figures. The style is not high. It is even vulgar. But the esoteric cultural psychology of the times contained in these works is a barrier to future generations. Li Yu's opera creation drew on the absurdity of the late Ming Dynasty-revelry factors, with the talent of literati, fusion of the wisdom of the people, the structure of interesting drama, In the laughter of the audience to complete their cultural psychology of public communication, achieve the narrative purpose of dispelling worry. In his works show confusion in the world, brimming with freedom and joy, men and women are challenged. The mockery of the couple, the blurring of the hierarchy, the removal of the barriers to the inferiority, the dissolving of the seriousness in the comical laughter, and the joys of breaking order and subverting authority.
【作者单位】：同济大学人文学院中文系;
【基金】：教育部人文社会科学研究青年基金项目“李渔的戏曲叙事观念与明末清初的江南城市文化”阶段性成果(项目批准号:11YJC751032)~~
【分类号】：J809.2;I207.3

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